A WINDOW TO OCTOBER

SCARLET HOLLOW releases its 2nd CD here on a resolutely melodic rock sound with some progressive tones. Let's take a closer look at this: Adventures in the Kings Garden" on his genesis and a female voice evoking Magenta or MOSTLY heather findlay era, melodic prog air, acoustic digression. "From Sea to Infinity" with its vintage Mellotron sound, on a pre-Indian air and rock sound with progressive tendency, nothing transcendent in it. "A Window to October" leaves on the same formatted diagram until the 2nd part where there an air break, chiselled makes prick the ear; a second station wagon with heavier riff and its solo which goes with peps. "The Forgotten" for a shorter title and on the same dynamic. "Skipping on Frozen Fire" and its more basic sound, bass forward, soft sounds, the guitar eyeing with its drawn notes, a little country even, calm passage, ballad and musical romance, softness in the ears; the impression of waves coming to touch the edge of the bank, it will take the eternal solo of Gregg to give a little relief to the title, to believe that all the titles are there to put and the voice and the guitar in front. "Jupiters Calling" with finally a prog title; the already planar intro (I thought I was going to hear STING just at the start on a mythical intro!) then a bluesy rhythm as you wish, a synth that is beautiful, very fat, very fruity too and I realize that we are on an instrumental! A superb piece. "LVX" is already attacking half of the album with the cover of a watered-down track which, paradoxically with more square bass, makes the song easy to listen to, even if we are far from the prog, we have a melodic atmosphere. "Pendragons Cove" and the second orchestral title for a variation of acoustic guitars with solo which suggests that we are coming back to melodic prog here. "Crimson Lights and Dark Waters" and the longest title; a worked intro, blues and symphonic, cool calm and filled with a captivating atmosphere, then the voice starts on a background of basic synth reinforcing the voice even more; we are still in a simple melodic sound, first break that revives the voice, a little parachuted again, an air that reminds me of the rhythm & blues, a little SADE even, yaouh where are we going?; go, a little TOTO commercial or ALAN PARSONS of recent times, it lacks pep when you know that it was stamped heavy prog. "I Am Divided" follows on the same dynamic bis repeated with here however a warmer, fruity, not energetic guitar just warm and the voice which wants to be endless with an obvious lack of drifts and other progressive expectations; it's a shame because I was expecting something else from this long title. "Possibilities" and a pleasant surprise with Allison's slightly more nervous voice and the guitar coming out with a very lively melodic riff. "Dream Currents" and 35 '' of happiness for a symphonic intro that leaves you dreaming, then paf back to its very melodic, very predictable and very repetitive SCARLET HOLLOW sound despite here a more low bass line; more rhythm & blues lines here, a mood song for one evening to put some notes in space; the synth solo here, in the last title explodes the rhythm a little, but back again to this linear atmosphere, can still be one of the best titles, a little fair. A good album to listen to in the car with the hood open.

Back in 2012 Scarlet Hollow were getting prepared to release their debut album. Based around the core of Gregg Olson (electric guitars, synths) and Allison VonBuelow (vocals, acoustic guitars), the band was originally known as Echoes Landing and it was because of them that Nick Katona formed a record label. However, while Scarlet Hollow's album was in the pressing plant, Olson suffered a devastating stroke which led him unable to play or even hold a guitar, while he also had to learn to walk again. But he refused to quit, and over time he recovered, writing all the time. As the years progressed, he was able to play the music he had in his head, as opposed to having to dumb it down due his condition, so he kept rewriting and changing what was happening. In 2017 a new drummer was found in Jay Setar, and his skills and dynamism led to more changes, with bassist Jeff Mack also re-recording what he had already done. After eight long years the band is back, so what is the new album actually like?

Well, I missed out on the debut at the time, only hearing it in 2019, so for me there has not been too much of a gap between the two. In between I have also been fortunate to hear Allison's amazing solo album (where she is accompanied by both Gregg and Jay), and now we are firmly back in the progressive world. Gregg is a real fan of Jay's powerful drumming, and one can hear why as he is rarely content to sit quietly at the back but provide fills which lift the music to a new level without ever overpowering it. In Jeff they have a bassist who plays between the drums and guitar, providing counter melodies when the time is right, moving between octaves with ease to provide different dynamics while also happy to sit back. In other words, there is an incredibly strong rhythm section who provide both support and melody, a foundation for the others to strut their stuff. Gregg is often to be found playing melodic leads as opposed to chords, weaving a melodic tapestry which sits against the rest yet also not playing at all at times, allowing the acoustic guitar to take centre stage.

Then after all that we have Allison. She is a superb singer, and on this album, she is definitely channelling her inner Lana Lane, being gentle when the need arises, but with a real edge at others. I would love to hear her take on "Symphony of Angels" as I think that would be quite something. But there is no need for cover versions on this album, which is full of light and shade, and powerful songs from the pen of Gregg Olson. With Gregg back to strength, and the band now ready to get out and play, let us only hope this horrible virus allows them to do so in the near future and build the reputation they so richly deserve.

Here we have a progressive rock band who have refused to be beaten, and have returned with an album which shows that while it may have taken eight years to come back with the follow up, the experience has only made them stronger and more powerful. For all fans of female fronted heavy melodic prog rock. Superb.

Lush electric guitars and synth performances and arrangements from Gregg Olson with solid rhythm section and interesting female vocals help elevate this music to my list of recommended listens.

1. "Adventures in the Kings Garden" (6:23) vocals a little too like HEART/Grace Slick. (8/10)

2. "From Sea to Infinity" (5:11) tablas used to great effect. Nice keys and vocals. (8.75/10)

3. "A Window to October" (7:05) gorgeous composition with fine performances all around. (13.25/15)

4. "The Forgotten" (4:23) solid prog soundscape but nothing too exciting or special. (8.5/10)

5. "Skipping on Frozen Fire" (6:24) interesting song palette for a deeply personal lyric: kind of dreamy. I like it! Nice guitar soloing in the final two minutes! Great vocal! One of my top three. (8.75/10)

6. "Jupiter's Calling" (4:04) more nice, lush, atmospheric prog music on display for this laid back and very enjoyable instrumental. My second top three song. (9/10)

7. "LVX" (4:55) continues the deeply engaging sounds of the previous. Allison's voice is really working within this one. Nice space-ambient outro. (8.75/10)

8. "Pendragon's Cove" (2:03) solo acoustic guitar with some floating background touches from Gregg's electric. Then he starts soloing. Nice. (4.75/5)

9. "Crimson Lights and Dark Waters" (9:12) 'tron! Acoustic guitars. Sensitive electric lead. Bass and gentle drums. ANNIE HASLEM-like vocal kind of doesn't work--until the gorgeous Annie Wilson-like chorus. Nice work, Allison! Bravo! Sensitive interlude in the fourth minute precedes a change of pace and style for the next section. Love the chunky bass and Mark Knopfler-like guitar! For some reason, I feel as if the vocal should be ... more. This could have been much more powerful. (17.5/20)

10. "I Am Divided" (7:57) feels like a more amped up re-take on the previous song--more as if HEART had done it. The tempo shift at the midpoint saves this one from dustbin doldrums. (13/15)

11. "Possibilities" (4:12) another ballad with layers of mixed/awkwardly paired sounds. Gorgeous albeit brief guitar solo. (I think it's the tone that wows me most.) (8.25/10)

12. "Dream Currents" (7:10) I like this one for its stylistic and tempo variances from the rest of the album. Again, Allison's voice is treated and mixed differently than the rest of the sound--making it feel oddly separate. (Too much compression or something?) Love the b vox choral vocals at the end! My other top three song. (13.25/15)

Total Time 68:59

There were several times that the soundscapes and guitar soling reminded me of Frank Marino's Mahagony Rush from the 70s and 80s.

B+/four stars; a consistent collection of beautiful, lush, mature prog compositions and a welcome addition to Prog World. Reminds me a lot of Dam Kat and her band, Children in Paradise.